KYLE SOEHNGEN

I want the location to feel accessible in the sense that it could easily have been the home of our audience, but also at a distance as it’s been eroded by years of smoke clinging to the walls. I see this home as middle-class, a little eclectic, and on the edge of outdated — as though it was a hand-me-down home from his mother that never quite got the proper renovations - it’s the same tar-licked curtains and kitchen tile that’ve been there for ages. The smoke itself has brought a weight upon the home and everything is just a bit too yellowed — a color palette you can feel. Dark window treatments will block the bright sunlight from the outside world, creating a sickly static air that sits in the home. And the little bit of light that creeps along the edges of the curtains only reveals lingering smoke. Through location and set design alone, I want the audience to smell the stale air through their screens.

Diablo is 26 years in the making, sitting on a foundation of immense lore, all of which has led to the latest release — a dark and brooding spectacle, rife with depth of storytelling and cinematic excellence.

For this campaign, we want to pull from that lore, matching the style and tone, while adding just a bit of cheekiness to each and every eulogized player death.

Sure, a player may have just had their entrails raked across the cold earth by Ashava the Pestilent, smearing their bodies like a fine jelly, but they’re dead now. Their social handle is being etched into a statue of Lilith for all eternity, so what’s a bit of quippy candor spoken at their eulogy?

Let’s honor the courageous fallen, but have a little fun doing it.

When it comes to the main course, it’s all about anticipation. The build up to that first bite as dishes are passed around and plates are loaded up with all your holiday favorites. Let’s capture that anticipation, passing of plates, and overall energy.

We’ll start this section as we left the previous one — matching the action of our transitional dish to perfection so as to make the wipe seamless and invisible. From there we get right into the action of the main course as we continue down the table.

Hands and plates are passed around in a manner that naturally pulls our camera along — coming and going at the perfect time while highlighting Sun•Maid dishes accentuated in warm golden light. We’ll ensure those are the ones that capture our audience’s attention through staging, movement, and light — no one wants to be upstaged by a holiday ham.

We call it sobremesa – it’s the party after the party that makes for nights to remember.

Sobremesa is a mood – and one we’re going to capture at one big turn up as we roam through every little bit of conversion, celebration, and passion – complemented by Rémy Martin throughout, of course.

Hard to describe, but you know sobremesa when you’re in it…

It’s the sweat of a simmering summer night under the tinge of dusty tungsten light – basking the evening in an orangey, monochromatic glow.

It’s feeling the pulse of Reggaeton in your chest as you pack onto the afterhours dancefloor.

But most importantly, it’s the night’s endless possibilities that signal that the celebration is just getting started, conversation is about to flow, and the highlight of the night can truly get under way.

Our Grandfluencer is a a true sartorialist. A man succeeding in style with an infectious personality — but never pretentious. For costuming our character, I’d like to go slightly off-kilter by integrating distinctive patterns and sharply styled fits. The sort of stuff others wish they could wear, but only he has the confidence to pull off. And all the while having something special you just can’t quite put your finger on... He’s a man who knows what he wants and has a taste for the finer things in life. And yet, he has this unyielding and uncontrollable drive to be thrifty. He’s eccentric by design while keeping it real.

A collective portrait of our crews. Visceral, raw, cinematic and grounded in authentic emotion.

Cinematic verite footage of our crews in their element, underpinned by a collective VO.

We will have pre-scripted ideas, a road map, but no one can tell their story better than them. Our focus will be on creating the preconditions that allow our crews to share how UA’s connected footwear empowers them to run connected.

Their insights will play over raw city scapes and vivid details intercut with kinetic snapshots of our crews doing everything they do best, while organically integrating use of UA’s connected footwear.

We’ll begin static and slow as our athletes enter the stuffiness of the country club.

As with the idle world of the traditionalists, our camera will photograph it as such. There is no significant fanfare to the camera work as we reveal the stillness of this space.

And corresponding with that lack of movement, there is a quality to the light that indicates a stagnant nature overall.

But as our athletes step onto the court or onto the green, we’ll build a sense of momentum…

Slowly, our camera comes to life, creeping up to the tee…

And once the club makes contact with the ball, our camera snaps to life, moving with the full force of the swing. And form that point forward, there’s no looking back. In fact, our camera builds in momentum through driving movement and dynamic angles. Like a dance, the camera and subjects will flow and move in lockstep choreographed time.